The theme this week is Rock Progressivo Italiano, which yes is essentially Italian progressive rock, but like the UK Canterbury scene, there was and remains a rich history of the genre in Italy. The focus is on classical forms and a more symphonic, pastoral approach to progressive rock…except when it wasn’t and it literally kicked your ass. This week I’ll focus on some big hitters from the 70s as well as some new players on the scene, and we’re kicking it off with a band who straddled both. Il Cerchio d’Oro formed in 1974 but things being what they were didn’t really get around to releasing any music until the early 2000s. Pangea e Le Tre Lune is their latest and completes a cycle on the elements, and brings a lot of the elements I like about the genre to the fore.

Pangea e Le Tre Lune reaches to the roots of RPI with clear symphonic overtones, but there’s a modern, neo-prog sensibility to the tunes as well. Opener “Pangea” brings the keyboards in early, with founding member Franco Piccolini layering in organ, mellotron, and other synthesizers to craft a beautiful opening, laying the groundwork for some nice flute before  Piuccio Pradal’s vocal come in. The production is super clear, allowing all the guitars, copious keyboards, drums and especially work have their own sonic speak without overcrowding, despite the lush arrangements.

Both the second half of “Pangea” and the follow-up track “Alla Deriva” really show off the guitar and bass work, but let’s for a moment lock in on the rhythm, courtesy of the Terribile brothers, Gino on drums and Guiseppe on bass. You’d expect a strong rhythm section with brothers, and that’s true here, but it’s Guiseppe’s bass that really does it for me. There’s no mistaking the Rickenbacker sound, and I’m surprised more players don’t utilize its distinctive tone in prog. Maybe Chris Squire cornered that market, who knows, but it sounds great here. There are a number of guitarists on the record: besides Piuccio Pradal who adds guitars along with his vocals, there’s Massimo Spica as well as a few guests, including Ricky Belloni and Tolo Marton from Le Orme, a legendary band we’ll be covering this week. Anyway, the guitars are nice; not to showy but never resting passively. The solos are solid, melodic, and bring a little “oomph” to the tracks.

But as you would expect, the star of Pangea e Le Tre Lune is Piccolini and his keyboards. There are moments on “Dialogo” that bring back to me late 70s/early 80s Jethro Tull, and there’s some great violin courtesy of guest Donald Lax. “Le Tre Lune” translates to “The Three Moons” and there is a concept at play here, weaving a story of the three moons and their conflict, resulting in the world of Pangea. I don’t have the translations, but it’s a nice phrase to think about as the harmony vocals transition to an epic classic rock solo, Piccolini’s organ wailing away in the background. “Dal Nulla Cosí” I guess can be considered the rocker of the album, with its insistent guitar attack in the opening, and Guiseppe Terribilie’s bass way up front and commanding the mix. I really enjoy the ramnbunctioness of the song, and it being the outlier of the album gives it an added weight. The album proper closes with “E La Vita Iniziò” which besides the dramatic melodies brings a little more of that 80s sheen with its’ jangly, U2/Edge guitars in the beginning. It’s not overpowering, but it gives me a taste of some of the more opaque influences the band has absorbed throughout the decades.

For folks maybe just getting into the RPI scene, starting with a more modern band like Il Cerchio d’Oro might be a good idea, sort of like testing the waters before diving deep in the oceans created by the likes of PFM, Banco, and others. There’s some great guitar, thick drums, fantastic keyboards, and it’s not overly pastoral or symphonic compared to some other bands, but all the hallmarks of what the genre great are there. And if you’re a metal guy, Pangea e Le Tre Lune ends with a bonus track, the song “CRISI” which was actually from the band’s time as a hard rock outfit called Black Out. Think Deep Purple (not that you’ll be able to help it with the callout to “Smoke On The Water”) with an Italian twist – like nothing else on the album but a real fun little rocker to close things out.